includes following artists—>
Chris Bors (USA)
Fernand Fernandez – Thomas Michalak (France)
Flow Ir In (USA)
David Kasdorf (USA)
Kazuo Kawasumi (Japan)
Gregory Lasserre, & Anais met den Ancxt (France)
Les Riches Douaniers (France)
Wolfgang Peter Menzel (Sweden)
Marco Puccini (OTO) + virgilio VJ (Italy)
That’s What PhD’s Call Letters
(from the audio cd Love Letters Greatest Hits, Vol. 1)
Love Letters Greatest Hits, Vol. 1 is a 46 minutes audio CD featuring me reading aloud ten of the best love letters out of seventy-six sent to me by a former girlfriend. This is the first track on the CD.
date: 2005/2006 ( in constant evolution )
running time: live performance, between 5 and 15 mn
Description of the process:
It all starts with nothing. Thomas Michalak’s computer’s material is Fernand Fernandez’s voice. It is the starting element, that will be transformed and reconfigured. The collaboration evolves like a growing structure made of spasmatic and spited words struggling with the texturized process. The two performers mix together through a sound improvitation beyond voice texture. Fernand Fernandez has a dark creature-controller stuck to his arm, which enables him to pick consonants, vowels and pieces of words. He uses it as a random partition. The process is in a real-time performance played live. Elemant phan has been performed twice in the past.
alien nursery (CD remix)
these three tracks compose my ‘alien trilogy’. i began with a scientific theory – that of beat production in focused beams of off frequency energy, useful for generating localised low fequency oscillations for, say, a hyperspace transmitter. i used Cubase to run a series of looped midi sine waves (at a range of frequencies), then ran that as a controller for a chaotically resonant system built in NI’s generator. the instrument was designed to create key beat frequencies near and around neurophysiologically important landmarks – 6Hz, 40Hz, 16kHz etc.
i then ran the software and fine tuned the parameters until i could feel clear bodily responeses to the sounds – a ball rolling through my teeth, my leg being stroked, etc. then, i meditated and played a midi keyboard loaded with samples, generated from scratch. I made unexpected contact with an alien race, and with them, recorded these tunes. the first, nursery, is a basic primer in their language, listen to it three times over headphones while dropping off to sleep. the second, hypnosis, prepares the human nervous system to accept a visitor. the third, lover, puts out a call for contact.
1. What A Friend
2006, digital audio, rt: 1m:35s
What a Friend hearkens back to a boyhood on the prairie, the seeming freedom of endless rural vistas in continuous conflict with isolation and an indigent community’s harsh conception of God and Salvation.
2. What Your Problem Is
2006, digital audio, rt: 3m:06s.
The piece, simply a voice, a fragment of a developing body of work, reflects a single aspect of the gradual breakdown of stability in the lives of my family and myself. Seemingly compassionate at first, the voice turns cajoling, manipulative, demanding, and ultimately disturbing.
3. Smile (Just Breathe)
2005, digital audio, rt: 3m:06s.
Smile (Just Breathe), an ongoing series of audio and video works, is an attempt at immediacy, making work in the here and now, a more direct expression of self. We all perform and I enjoy it as long as I can do it. But it is at the point where performance breaks down, where the internal and the external begin to overlap, when the smiling stops and things become real, that it becomes interesting. When all that’s left is to keep breathing which, at the very least, is a way of moving forward. This unmasking is what Smile… is about.
2006, 6 min 4 sec
In Quartet now, the artist expresses his memories as sound by arranging four separate works as a quartet ensemble. The running time of each piece is 1 minute and 2 minutes for a quartet ensemble, although the total running time could be longer by continuing the refrain.
The first movement is construed as a heartbeats combined with subliminal sounds from nature such as drops of water or streams. The heartbeats might be his mother’s as vibrated to him in her womb and the subliminal sounds might be coming from her body fluid. The second movement is expressed by a violin, guitar, contrabass, and percussion also imbued with subliminal nature sounds, which might come from all of his profound memories. Vocal sounds in the third movement might be a first voice which vibrated his ear drum. In the fourth movement, the vibraphone with subliminal sound reverberates in triangle tone, which the artist feels is a universal harmony with which to communicate with the universe.
Quartet now was composed and edited by the artist and the music was performed by New York-based musicians.
2006, 3 min 33 sec
Glass breaking sound wakes up the artist’s memory like in flashback, which links to a profound relationship between people and Glass. The artist feels that the physical features of Glass—hard, brittle, transparent and reflective—brings in the metaphysical which invites people to a intangible mysterious world.
The sound piece belongs to a series of his Glass work, which was performed by vibrating huge Glass window in the Royal Library building in Copenhagen. Glassophy is the individual sound work but also could be represented by and with vibrating Glass which is a reality of the sound. The artist has worked for this series since 2003.
is made of a half-spherical structure and of an evolutionary device wich makes man, image ans sound interact thanks to digital tools. The machine becomes the creator’s ally to produce pictural and sonorous shapes. This space is ideal for collective performances; it accomodates in its center a constellation of visible shapes, spinning sound loops and luminous vibratory
elements. The dome-bubble hosts universes and objects endowed with life. They are articulated like subtle microcosms in conversation.
march 2005 – 4:46
Dans le système utilisé, le piano scande le début comme des éclairs, disparaît dans le mirage des nuages. L’éloignement tendre des sonorités se déliquéfie, s’amplifie, disparait. L’attente s’installe avant l’apparition des graves au loin et le piano revient marteler l’informel. Il génère ainsi le souvenir et réinstalle l’identité musicale.
Even this work is a sound collage, partly based on stochastic algorithms of the sound grinder KVARNEN at www.ssshhhhh.dk. The piece tries to give expression for one of the tasks of our memory, to survive with our own history in mind, individually and together. I used a lot of stringwork and the rhythmic sound of a wind power station.
(2005) time: 02.56
(2006) time: 03.00
I made any songs with a miniMac with the support of Ableton live 5.01.I also used some hardware stuff to make that songs like CASIO VL-TONE,ELEKTRON SPS-1UW MACHINEDRUM,ROLAND TR 909,ACCESS VIRUS C,YAMAHA RM1X,YAMAHA SU200,YAMAHA DX7,EDIROL PCR-50 & M-Audio Firewire Audiophile.